Comparison Between Aristotle and Plato on Mimesis
iA comparison between Aristotle and Plato on mimesis
1. Introduction
Mimesis, as a controversial concept starting from the 15th century, is among the oldest terms in literature and artistic theory, and is certainly among the most fundamental. Developing centuries, the concept of mimesis has been explored and reinterpreted by scholars in various academic fields. The word “Mimesis” developed from the root mimos, noun designating both a person who imitates and a specific genre of performance based on the limitation of stereotypical character traits. Very little is known about “mimesis” until the ancient Greek Philosopher Plato provided the first and unquestionably the most influential account of mimesis. In his wide-ranging work of the Republic, Plato does not simply comment upon an existing notion in this notion of mimesis in this dialogue but radically redefines art as essentially mimetic, is a representation of something else. This notion is so fundamental to the way we understand art that it is no exaggeration to claim that art itself, as a distinct human product, is a Platonic invention. Following Plato, his disciple, Aristotle redefined “mimesis” and put forward his own theoretic interpretation. His Poetics is the single most influential work of literary criticism in the western tradition and, along with Plato’s Republic, is the fundamental text for the understanding of mimesis. Aristotle’s chief subject is Greek tragedy, but his account of this form engages far-reaching question about the nature of mimesis that powerfully revise Plato’s theories. This paper attempts to interpret in detail the concept of “mimesis” in Aristotle’s Poetics and how it is manifested in Aristotle’s illustration of tragedy elements, meanwhile by comparison to analysis its similarities and difference with Platonic mimesis.
2 Comparison between Aristotle and Plato on mimesis 2.1 Similarities Although it is often said that Aristotle’s account of mimesis in the Poetics is a
1. Introduction
Mimesis, as a controversial concept starting from the 15th century, is among the oldest terms in literature and artistic theory, and is certainly among the most fundamental. Developing centuries, the concept of mimesis has been explored and reinterpreted by scholars in various academic fields. The word “Mimesis” developed from the root mimos, noun designating both a person who imitates and a specific genre of performance based on the limitation of stereotypical character traits. Very little is known about “mimesis” until the ancient Greek Philosopher Plato provided the first and unquestionably the most influential account of mimesis. In his wide-ranging work of the Republic, Plato does not simply comment upon an existing notion in this notion of mimesis in this dialogue but radically redefines art as essentially mimetic, is a representation of something else. This notion is so fundamental to the way we understand art that it is no exaggeration to claim that art itself, as a distinct human product, is a Platonic invention. Following Plato, his disciple, Aristotle redefined “mimesis” and put forward his own theoretic interpretation. His Poetics is the single most influential work of literary criticism in the western tradition and, along with Plato’s Republic, is the fundamental text for the understanding of mimesis. Aristotle’s chief subject is Greek tragedy, but his account of this form engages far-reaching question about the nature of mimesis that powerfully revise Plato’s theories. This paper attempts to interpret in detail the concept of “mimesis” in Aristotle’s Poetics and how it is manifested in Aristotle’s illustration of tragedy elements, meanwhile by comparison to analysis its similarities and difference with Platonic mimesis.
2 Comparison between Aristotle and Plato on mimesis 2.1 Similarities Although it is often said that Aristotle’s account of mimesis in the Poetics is a